In the last few years, the art, importance, and appreciation for true artistic criticism in the modern music sphere has been relegated in the minds of the popular consciousness to nothing more than a subversive and often bias form of internet bullying, and virtually eradicated from existence in lieu of most major media outlets and professional journalists being transformed into little more than a promotional arm and proxy for the music industry.

And this is not just true in the mainstream of music. If anything, this trend may even be more epidemic in the ranks of independent music where the element of “scene” and the smallness of the scope makes truth and honesty that much harder to speak. Compared to the honest, and often harsh criticism that movies, theatrical performances, even food and architecture regularly receive, true criticism of music has been virtually ostracized, and anyone who would engaged in it banished to the pea-shooting relevance of little independent blogs, bad mouthed industry wide by most all other participants in the business, including, if not most especially, artists and their fans.

But the point of criticism is not to score points against whomever, or whatever is being criticized, or to tear someone or something down to prop the critic up, or even to entertain an audience to generate “clicks.” The true point of any artistic criticism is to give constructive observations to the artist in hopes of improving whatever is being criticized, as well as a guidepost to the public of what deserves their time in an incredibly-cluttered marketplace. The first thing you learn in any art appreciation class is that if you like it, that’s all that matters. The second is that if you don’t like it, how to communicate your concerns for the betterment of the artistic medium.

Margo Price is the Queen of East Nashville, and this goes without question. She has shaken things up on both sides of the Cumberland River, and put a shot of adrenaline into the hipness and relevancy of traditional country where once it was cast aside as something stuffy and outmoded. And live, Margo Price and her band don’t just rival the hottest names in independent country, they often best them. This is the reason she’s received opportunities to open for Chris Stapleton, Willie Nelson, Tim McGraw & Faith Hill, and others.

When it comes to Margo Price the performer, all the buzz surrounding her efforts is probably warranted. But when it comes to her recorded music, especially when measuring it against what you see live and the incredible accolades and opportunities she has been rewarded, it’s passable at best, lackluster in moments, and at certain turns, downright dreadful.

This opinion will be met with shock and horror by many individuals in independent country fandom, in the media, as well as Margo’s fellow performers in east Nashville and beyond. It will be discredited as bias, though no motive will be able to be assigned. It will be ruled as misogyny, even though no such basis for this opinion will be shared. The name of Saving Country Music will be smeared across social media, and couched as an outlier. But it doesn’t make it any less true of an opinion, or valid.

Perhaps to many of the culture and political writers who only pay attention to country music from the outside looking in, they listen to Margo Price and sense it’s the antitheses of the stuffy, conservative, and formulaic fare of the mainstream, and decide Margo must be championed. But for those with their noses to the ground, digging deep into the dark recesses where so much of independent country lurks without the aid of major periodicals, Margo Price’s recorded output is mid pack at best. And this isn’t just an opinion. It is validated by sales numbers that come in subpar compared to artists of a similar sphere, and who haven’t received even a fraction of the national exposure, opportunities, and accolades Margo Price has been showered with.

The problem with Margo Price’s All American Made is the same as her first record, Midwest Farmer’s Daughter. Though the songwriting is strong in segments, the recordings themselves are lifeless, the playing and mixing is unimaginative, at times Margo’s otherwise strong voice is exposed and naked-feeling in the mix, as is her fairly formulaic song structures since there’s little to no imagination brought to fleshing these songs out. This music just has no pulse.

Additionally, All American Made is specifically beset by terse, arrogant, and shallow political stabs that have little substance, and even less effectiveness at conveying a sentiment or perspective worthy of an audience, or any value in the realm of political discourse. It’s just divisive, hate-filled venom that if anything, hurts the cause it looks to champion.

All American Made starts off strong, and the criticisms highlighted here should not override or overshadow the positives from the effort. “Don’t Say It” captures the energy and attitude that Margo displays in the live forum. “Weakness” speaks to the tortured soul/fallen angel aspect of Margo’s true to life story that so many of her fans identify with. The dreamy, yet driving “A Little Pain” marks another strong moment for the record, and one of the best illustrations for the sort of 70’s R&B, Muscle Shoals-inspired country that Margo Price and the producers looked to capture.

But from there All American Made becomes a series of missteps that sometimes are downright unbearable to listen to, like the unbelievably-sloppy harmonies of her and Willie Nelson on “Learning to Lose.” Granted, Willie is notorious for turning in some of the most terrible efforts when it comes to duets due to his offbeat phrasing, so this isn’t totally if at all on Margo. But even Willie lending his name to this album isn’t reason enough to allow this monstrosity to see the light of day. It should have been reconstituted, or just downright scrapped.

“Pay Gap” starts a series of songs that also includes “Cocaine Cowboys” and “Wild Women,” where the idea for a song was solid, but the execution left little more than a forgettable effort that relies on one phrase delivered blandly in the chorus to hold the song together—“Pay Gap” especially.

The problem with Margo Price’s politicism is not about whatever side of the political divide she is on, or even just that she chooses to broach political subjects with her music, which is always a perilous prospect. It’s that her opinions are so indolent and boiled in anger, they come across as immature and incredibly amateurish.

“Women do work and get treated like slaves since 1776,” Price asserts.

So sexism was somehow a construct of the Declaration of Independence, and didn’t exist beforehand, including for the 200-something years of puritan white settlement in North America that preceded freedom from England? And are we really going to compare women in America to “slaves”? Isn’t this being a bit hyperbolic, and a little insulting to the women who truly are living in forced slavitude all around the world, or that live under caste systems and other forms of institutional oppression that make life in America look like heaven? Yes, the pay gap and opportunity for women in American society is a real issue. But to say that women are “owned like a dog” in modern American society is such a ridiculous, borderline slanderous accusation, it makes the real issues women face in the workplace seem trivial, or contrived of an extreme viewpoint.

The same goes for the final song on the record, the dreadful “All American Made.” The minuscule energy and momentum this record attempts stimulate is stopped dead in its tracks with this droning, unfortunate effort that even goes as far as to offer a line about arms sales to Iran as some version of “gotcha” politics or intellectual discourse, while the poorly-constructed kid choir is downright nauseating, making Margo come across as if she can soar to the heights once reached by Pink Floyd and The Rolling Stones with grand vocal accompaniments, while only delivering a whimper herself.

Similar to Margo Price’s public persona, her political opinions on this record lunge from one sorely-informed political platitude to another, and are presented as if her Saturday Night Live appearance a couple of years back has afforded her the bully pulpit of a huge celebrity when in truth barely anyone outside of the Americana mindset is paying any bit of attention. This bellicose behavior and marijuana references keep Margo’s fans and surrogates fed just fine with the type of public image she’s looking to present, but she’s doing little to nothing in the efforts towards social change in society by issuing canned, bleeding heart lines on Twitter peppered between pitches of live dates and merch promotions.

Compare this to the thoughtful, and intelligent discourse someone like Jason Isbell or even Kacey Musgraves has attempted to stimulate through their music or social media presence (even if you still disagree), and Margo Price once again just comes across as novice. When people say to her, “Stick to singing,” they’re not just trying to say she doesn’t have a right to an opinion, or the right to share it. They’re simply trying to point out that she’s no good at it, and instead should focus on her strengths which reside in the music realm as opposed to punditry. These criticisms aren’t necessarily “mansplaining”—they’re sage advice when it comes to Margo, who really should take a course in rhetoric before she decides to make a daily ritual of talking down to the public.

But the desire of music to be devoid of politics should be a two way street. You may wish that Margo Price and others remain on the political sidelines, but perhaps so should you. Margo’s political sentiments on All American Made are mostly relegated to two songs. And even though one is the title track—making it feel like this album has a political theme (and the point the majority of the press harps on)—if you otherwise like Margo’s music, don’t let whatever her political opinions or affiliations are get in your way. The simple truth is many of our generation’s greatest artists probably have opinions that differ from yours on both sides of the political divide. Don’t put an unnecessary limitation on your musical experience by the elimination of half the artists out there. Just avoid those songs and don’t let it affect what you enjoy from an artist.

Since Margo Price has appeared on SNL, on the cover of major music periodicals and other lifestyle mags, and was once considered early on for a CMA Award, it’s fair to criticize her and All American Made right beside the efforts of the mainstream. And in that case, All American Made is a better effort than most of what you might hear on the radio. The writing on “Heart of America,” for example, reminds one of the similar quality of Price’s signature song “Hands of Time,” talking about the true-to-life Midwest struggles she witnessed from an impressionable age. All American Made is not a bad album. It’s more about being a disappointing album from someone who is supposed to be a leader in independent country.

The biggest issue with All American Made is the lifelessness sitting like a filmy residue over this entire project. “Weakness” is a good song, but already wore off its luster when it was released on an ill-advised EP from earlier this year. Why wasn’t a song like “Paper Cowboy” from the EP included here when it could have delivered some much-needed energy? Beyond the songwriting, the silly attempt at Tex-Mex flavoring on “Pay Gap” is incredibly Caucasian, and almost caricaturist in its feeble attempt at ethnic styling. And the whole “R&B country” thing has become so incredibly tired and trite over the last few years—in both independent country and the mainstream—it’s not fit for an artist being presented as groundbreaking. It was groundbreaking when Justin Townes Earle did it nearly 8 years ago on Harlem River Blues.

Folks will say, “Screw Trigger and Saving Country Music. This album is awesome, and has received amazing reviews. ” I can’t explain the discrepancy between reviews, and what detractors are hearing. Perhaps it’s part of a media echo chamber surrounding Margo. Perhaps it’s that people see her live and fall in love, and overlook the obvious shortcomings of All American Made, and really all of Margo’s studio releases. Perhaps it’s the power of Third Man Records. Even Saving Country Music sang Margo’s praises early on before the release of Midwest Farmer’s Daughter, and continues to in the live context.

But this disconnect with some listeners, and the disappointment in this effort is very real, and that is validated via the numbers. Just as folks will attempt to discredit other opinions, they will say, “Well when have numbers ever been a validation of quality?” In the case of the top-tier performers in independent country, it is an imperative that the numbers line up with the accolades so that it can hold the mainstream industry’s feet to the fire. Otherwise, the numbers expose the unimportant impact of what is going on in independent music.

Simply put, people are not listening to Margo Price in the kind of numbers that even raise any serious blip on the radar. You may personally like Margo Price and listen to her record regularly. But even a lot of Margo Price fans might be surprised how little the album resonates with them. They like it because that’s what you do if you’re an independent country fan. But ultimately, it gets left out of the listening rotation relatively quickly.

On the release date of All American Made, Price was up against some other important releases. A Long Way From Your Heart from the Turnpike Troubadours sold 2 1/2 times more records than All American Made, and with a fraction of the press coverage, no Saturday Night Live or late night television appearances, or an Austin City Limits episode, or opening gigs on mainstream tours. Streams on Spotify for the songs from the new Turnpike album range from 295,000-900,000. For Margo, the streams range from 63,000 to 180,000.

For someone with the amount of exposure Margo Price has received, and the critical acclaim she’s garnered, it is fair to call these numbers a disappointment. Is it due to sexism? Another upstart traditional country independent female, Dori Freeman, released a record on October 20th as well called Letters Never Read. Margo Price’s biggest song on Spotify, “Tennessee Song” has been streamed 1.6 million times. Dori Freeman’s biggest song “You Say” has been streamed 5.2 million times. Yet Dori has received a fraction of the attention, press, accolades, and opportunities that Margo Price has. Dori Freeman’s music is resonating despite the obscurity, while Margo’s is struggling despite the opportunity. Of course some of this has to do with playlist placements, but if Margo’s music was receiving traction, it would be included on more playlist rotations. And this doesn’t even mention the incredible numbers of Aaron Watson and Cody Jinks, and others in the independent country realm who the press seems to patently ignore.

All of this is not to say that Margo Price isn’t good, or talented. It wouldn’t be worth this deep dive into notions and numbers if Price didn’t have the potential to be something great in country music. But the cart was put before the horse with her from the very beginning, and it has enabled her to continue making mediocre recordings. Everyone praised the debut album, so why change the approach? The excuse was given with her first record that the production value was low because she sold her car and wedding ring to make it. Now what is the excuse?

It’s the arrogance and sense of entitlement from the Margo Price camp that is not allowing them to listen to constructive criticism and take Price’s career to the next level. There is no joy in exposing Margo as a critical darling with dreadful impact in the recorded context. We need Margo Price, or some performer of the female persuasion to rise up and put some gender diversity at the top of independent music. We’re tired of talking about Strugill, Stapleton, and Isbell—Sturgill, Stapleton, and Isbell. Margo Price is receiving every single opportunity an artist can wish for, and it’s still not even getting close to the level of resonance you want to see from a top tier, or even second-tier independent country star.

Yet Margo can’t stop complaining about how the industry is jobbing her, when frankly, it’s other performers getting jobbed because Margo is absconding with so much of the attention and opportunities. Independent music must put its best foot forward, and Margo Price’s All American Made doesn’t even come close to that. This isn’t the record to convert your mainstream buddies to the independent side of music. This isn’t a record to start a revolution. There are scores of other women with groundbreaking projects being ignored in favor of Margo Price all across country and Americana. Margo Price didn’t even put out the best record by an independent traditional country woman on October 20th, 2017.

Earlier this year, Saving Country Music spoke to a fellow journalist for Elle Magazine about Price, saying in part, “The independent country realm is looking for a female to put up on that Rushmore,” referring to Isbell, Stapleton, and Sturgill. In that same article, Margo Price is quoted lamenting, “So this is what it’s come to,” as she waited in a nondescript green room to play for a room that had sold 200 presale tickets. 90% of the artists in the Americana realm would kill to play for 200-plus capacity crowds, and get a green room at all. This speaks to the sense of entitlement that has permeated the Margo Price camp.

This long-winded review will be blown off as garrulous nonsense by the surrogates and supporters of Margo Price. People will misunderstand it as jealousy and spite, despite being unable to name a motive or origin of such impulses. They will rally behind Margo, blame misogyny, and a myriad of other issues on the conclusions presented in this review. That is why folks are so afraid to speak out against Margo Price. You say something critical, and you will be ostracized from the east Nashville scene and places beyond. That is why despite all the praise, behind-the-scenes the murmurs have become almost a roar about Margo Price, and how she continues to be so highly-paraded, while so many better artists are being ignored, both male and female. Margo Price needs villains to keep the oppressed card in play, so she and her cohorts should be happy with a review like this.

But in truth, time might reveal Saving Country Music as Margo Price’s best friend. Because while so many others in the media and fandom build universal acclaim around mediocre efforts that are not resonating, it’s more imperative than ever that someone have the respect for Margo to be honest with her, instead of telling her and her fans what they want to hear. Because her music, and her talent is good enough to be on that independent country Mr. Rushmore. That’s why it deserves the hard and critical assessment nobody else in music journalism is apparently willing or able to deliver.

– – – – – – –

“If you want to be a true friend to them, be honest, and unmerciful.” — Philip Seymour Hoffman as Lester Bangs

I agree with you Gina, I thought it was one of those crappy spoof things he does…Have you heard her Third Man Vault Live release last year? It was amazing…. I saw her live a few months back, she won me over 100%. I guess if everyone thought the same way we wouldn’t need this website. I’ll keep reading.

“Have you heard her Third Man Vault Live release last year? It was amazing…. I saw her live a few months back, she won me over 100%.”

This right here perfectly explains in no uncertain terms why there is a disconnect between the fans and journalists who love Margo Price, and the fans that can’t figure out what all the hype is about.

This is not a review of Margo Price live. This is not a review of a live recording. This is a review of her studio album “All American Made.” Fans and critics are seeing Margo live, being “won over 100%,” and then bringing that enthusiasm to their opinions on her studio albums. The problem is, those studio albums are just not very good, and people aren’t listening, despite the press coverage and positive reviews. They’re not really purchasing them either. But these fans still count themselves as fans of Margo Price, and shocked when someone says something to the contrary. That is also why the numbers matter in this situation.

Margo Price is excellent live. She needs to figure out how to bring that same magic into the studio. But she never will if she continues to be praised for how amazing she is, based primarily or solely on the live context.

I’ll agree, I’m biased because I think she is great live, but how can you give her the same “Score” as you gave Blake Shelton for Texoma Shore? I mean one is authentic, and one is mass marketed dog shit.

Once again you’re comparing names as opposed to music. This isn’t a popularity contest, this is a discussion about the quality of studio recordings. In the case of Blake Shelton, he just released a record that was of surprising quality when compared to his previous output. For some, this can be a difficult conclusion to come to because they see his name, and automatically have a negative response. For Margo, it is the opposite. They want to like her.

It’s never fair to compare two artists side by side. But in the case of Blake Shelton, he put out a record that rose to the best of his abilities, and went beyond expectation. With Margo, she released a record that feels below her abilities, and did not meet expectations. So even though Margo may be a better overall artist, I think it is very fair, and very telling they both ended up being graded the same on their most recent records.

While I can’t vouch for hearing Margo in a live setting, and while I will admit that ALL AMERICAN GIRL is probably not everybody’s cup of tea, I thought it was a very good album, especially with the R&B-influenced “A Little Pain”, and even the socio-commentary of “Heart Of America” and “Pay Gap”.

Now I’m not blind or deaf to the critiques of others regarding Margo or her album, nor do I necessarily think she is or should be the standard for women insofar as the alt-country/Americana genre goes (this title probably goes to long-time standard bearer Emmylou Harris). Still, I like this album, and I am of the opinion that Margo is a very worthy artist, as are the other female artists mentioned here.

Have to be honest, I’ve never seen the hype behind Price. Maybe it’s the vocal arrangements, but she comes across really thin on the mic, and again, in a year where country got more political, she wasn’t impressing me here either. Definitely a case of marketing over quality, even though I do like most of the tones she’s using.

What probably irks me more, though, is how much so many indie critics will hold her up as the gold standard for women in indie country and show yet again how shallow their view of the genre is. I’ll be honest and say I didn’t think 2017 was a great year for country overall (I’m still mulling this over as I try to assemble my own lists), but I’d easily put Natalie Hemby, Sunny Sweeney, Dori Freeman, Whitney Rose, or especially Jaime Wyatt on that ‘indie country Rushmore’ first – and that’s not even considering Nicole Atkins, Jillette Johnson, Angaleena Presley, Rhiannon Giddens, Bedouine, or Che Aimee Dorvall (for those of you who don’t know, she’s a black Canadian woman who worked with Devin Townsend on that Casualties Of Cool record three years ago and has a solo album that will be slept on by about everybody even despite it looking kind of incredible).

Margo Price on the other hand… I see the image and appeal, but I’m not convinced just yet.

Great review. I like Margo and would go to see her in a second, but there are four or five other women doing something similar only way better. Sarah Shook, for example, has a record that’s ten times more interesting, more heartbreaking, funnier, and generally all around more bad-ass, and even though that album has been out as an indy for three or four years and on a label for one or two, no one knows her and she’s never on XM Radio or any of the other pitifully small outlets for indy singers. Last time I saw Sarah Shook she was playing for 20 people at a bar in Somerville, Massachusetts and was happy her career was finally “taking off.” Imagine what a SNL appearance would do for her?

This is nothing against Margo. It took me a few months to warm up to the first record and maybe it will happen with the second, but to hear her anointed as the female Sturgill is a fucking joke, plain and simple.

Sarah has been played on Elizabeth Cook’s show Apron Strings on Sirius XM.
I will say Sarah needs to look at who is booking her tours. I am a fan and wanted to see her live and the two times she was in my town this year, she played at 1:15 am in an absolute shithole that I thought closed 10 years ago and the second stop was at 12:30 am in a similar hole, so nobody saw them or hardly knew they were in town either time. PWhy Bloodshot doesn’t pair her with Lydia Loveless on tour (her stops seem better plannedr), i don’t know.

Thanks for the honesty. I was an early proponent of her, but this new one is boring and polarizing. I think she needs to turn off CNN and listen to some more Don Williams records. You also give Isbell more credit than he deserves. A cursory look at his social media will let you know how angry he really is. Anyway you hit the nail on the head here. Let’s hope she turns it around. I like her sound, I just wish she would try harder to sing to everyone, not just the people who agree with her politics.

This is one of my favorite reviews you’ve ever done. You nailed it and expressed it in ways that I’ve been trying to figure out. When I saw Margo at the Opry this summer, I was blown away. She is an incredible live performer — far beyond what even her (mostly fantastic) first album conveyed. That’s why I was disappointed with this new album. It is indeed “lifeless,” and that’s the perfect summation. And, yes, the social commentary is well-intentioned but lamentable and juvenile, and I say that as someone who has also defended Isbell on this point.

I recently saw Whitney Rose play to a handful of people at a bar in Charlotte, and she was brilliant in every way. She deserves far more press, and thankfully SCM has done her justice. She should be on SNL.

I’m squarely in the middle of the two sides in this debate. I thought Midwest Farmer’s Daughter was spectacular, while All American Made doesn’t particularly move me. Give me “Since You Put Me Down” or “Weekender” any day over the songs on this latest release.

Awesome. If you’re not sexist, then I’d love to hear how you feel about Cody Jinks’ legs? Maybe you’d like to offer some insight on Turnpike Troubadours’ butts? Or do you have a photo of your daughter, sister, or mother? Maybe you could post their photo so we can “compliment” them as well? Or do you just save that stuff for women you don’t respect?

What a dipshit! Turn on your fucking tv and watch the commercials. We are attracted to sexy people and that’s why they are used in ads to sell everything. I’m a straight guy that’s attracted to a hot young girl in boots. Though
i’m personally not attracted to Margo’s face. I said she has nice legs.,, and if keith or anyone else wants to pay a complement to Cody Jinks or anyone else,,, I’m okay with that. Saying someone has an attractive feature is okay.

This is an article about the quality of an woman’s music, and how she looks or her different body parts are irrelevant. To call her art mediocre, but then “complement” her legs is absolutely sexist, or whatever you want to call it.

It’s not always a complement to say about a person that you like his/her body parts

If you saw Margo Price in person, and said I just saw your show, and your voice and songs are mediocre, but your legs are nice, do you think she would take what you said as a complement?

But, this isn’t talking to Margo Price. This is a fan forum where we give our opinions on music, music culture, etc. If you think looks don’t have anything to do with success in the music industry then I’ve got some Ocean Front Property in Arizona to sell you.

Actually I can’t stand that music but then I’m not really their demographic am I. Luke Bryan and FGL are selling sex and an image to female country fans. I don’t know many straight guys that would call watching Luke Bryan do his stripper dance a good time.

Wow! You guys are so sensitive. If you ever stood backstage at a country concert or at a t-shirt booth and listened to the average female country fan talk about the artist or what they would do to meet the artist, I wonder what you would say about them. My point here is: we are selling sex and that music is only part of the equation. If looks didn’t matter we would might not even be talking about Margo Price because there would be a lot better music being championed by the media.

Adele. Chris Stapleton. Alabama Shakes. Post Malone. Jason Isbell. I could go on and on. Your remark about music being part of the equation is way off. We’re selling music, and image does help. But the idea that it’s the primary focus is an outdated way of thinking. It may have been that way, but the pendulum is swinging back the other way whether you want to admit it or not. But regardless of that, your comment was in bad taste. Do all the verbal acrobatics you want but anyone with a brain can see how your comment came off as creepy. You sounded like a pervert and a major douche rocket and then got all defensive and said everyone was getting “sensitive.” There’s a difference between being a PC snowflake and just not being a dick. Even if that wasn’t your intention you can’t expect people not to take it that way. The best thing to do in your case would be to not comment. You make yourself look like an ass almost every time.

Any producer or A&R exec when presented with two equally talented females, but one is hot and one is not, will always go for the hot one because she will sell more records than the ugly one. Have you ever noticed how actors are cast in biographies. A lot of times the actors are way better than the people they are portraying. That’s because beauty sells in our culture.

But how many of those pretty faces make that much of an impact, rather than just being a flash in the pan before moving on to the next? And I’m still wondering how any of that justifies your comment and the way you said it.

She’s on just about every Best of list of the year. So my guess is that this isn’t going to affect her one way or the other. I thought there quite a few Margo fans on this board. Curious to hear from them.

New Release: Kasey Tyndall – Between Salvation & Survival – Album – 12/01
Current single (“Bar That’s Open”) was co-written by Kasey Tyndall with Ashley McBryde & Lainey Wilson.
Lainey Wilson released a great album in 2016 (Tougher).

She’s not awful, but I think she’s overrated. I listened to her last album all of 2 times. God bless the Isbell fans, too, but I can’t even navigate my way through one full listen. For every incredible tune that makes you sit upright (and he has some amazing tunes), there are 2-3 tunes that make you wish you hadn’t started with the whole endeavor. Not that any of it sucks, but hell i got the web to surf here, man.

I disagreed with your criticism of MWFD and still do. One of my favorite records of 2016, and Hands of Time was my favorite song of 2016. I still don’t hear any of the problems you pointed to in your review (although I’m sure my technical ear is nowhere near as tuned in as yours).

But I agree wholeheartedly on this record. It’s like she dove head-first into Hipster Lake. Listening to this record makes me wonder if she has anything left to say. I expected this project to have energy and it just doesn’t. What happened to the great writing? What happened to the depth of feeling that was so clearly present in her earlier work? Why is she doing paper-thin political rant songs worthy of Neal McCoy?

I will go see her perform in a heartbeat, but I’m not buying this record. Very disappointed. Still think she’s capable of so much more.

I’m really enjoying All American Made; I like the vocals, the sound of the band, the writing, all of it. I agree that the Willie duet can get difficult to listen to at times. The political slant doesn’t bother me, and rarely does with any artist. I can listen to her sing about the pay gap, and I can listen to Charlie Daniels sing about hanging dope dealers from a tall tree with a short piece of rope, and it doesn’t deter me from appreciating the music and the artist’s viewpoint/beliefs, even if I don’t agree. I’m weird like that. I’m going to see Margo live for the first time in January; I’m hoping it lives up to the hype I’ve been reading

I don’t know if Charlie has ever been in a different political camp or not. I see your point, that his songs can blur political lines. I come to expect that and welcome that from artists that I respect. But if you ever look at Charlie’s blogs/media posts, it ain’t too difficult to ascertain which way his political leanings lie…

Not on purpose, but I’ve seen her 7 times in the last 16 mos. She’s been everywhere – Farm Aids (2), Outlaw Fests (2), Mountain Stage, w/ Chris Stapleton, Willie’s 4th July picnic. Fortunately (or unfortunately), I heard many of these songs in concert and already had a favorable opinion of them before the album was released.

Politics in music never bother me. Although it’s nice have country musicians finally expressing progressive points of view in their music. I’m not sure what to make of the Kacey Musgaves comparison though – does she really have stronger political views than Margo?? I never took Musgraves serious.

I don’t think Kacey has “stronger” views so much as she’s better at articulating the mild views she does have (essentially: Everyone should get over themselves and live their own lives) more effectively than Price.

Saw her live before I had listened to her music on the advice of a friend and thought she was great. Farmer’s Daughter was good but the latest, I listened twice and found nothing to bring me back.
Very disappointing.

I appreciate the thought you put into this. I learned about Margo from this site and was initially excited, but like a sugar rush it wore off very quickly. Even with her live stuff online, I find my attention wandering off. The songs and performance can’t grab and hold me for the entirety.

Also, don’t worry about covering your own arse so much with a review like this. You are the man when it comes to this stuff.

Her live set for the new album on SiriusXM (you can listen to it on the app Outlaw Country station) was a lot of fun and had good energy – I really liked a lot of the songs. Then on the album some of those same songs seemed flat.

Nice review and I agree. I might think you were even a little too kind. My problem is that you shouldn’t have to explain yourself. It’s just not that good end of discussion. Our current climate has everyone on fucking pins and needles scared they will offend someone. Fuck em.

Folks will say, “Screw Trigger and Saving Country Music. This album is awesome, and has received amazing reviews. ” I can’t explain the discrepancy between reviews, and what detractors are hearing. Perhaps it’s part of a media echo chamber surrounding Margo. Perhaps it’s that people see her live and fall in love, and overlook the obvious shortcomings of All American Made, and really all of Margo’s studio releases. Perhaps it’s the power of Third Man Records. Even Saving Country Music sang Margo’s praises early on before the release of Midwest Farmer’s Daughter, and continues to in the live context.

This opinion will be met with shock and horror by many individuals in independent country fandom, in the media, as well as Margo’s fellow performers in east Nashville and beyond.
This opinion was met with overwhelming joy that I am not the only one, not only the only one who thinks this, but also not the only one who has been willing to express it. This record is in parts incredibly boring to listen to, Willie Nelson’s harmonies are atrocious, and rather than saying anything meaningful politically, she just sounds hateful. As far as bringing politics into your music, that’s not a problem even if I disagree, but she doesn’t do it tastefully. I do actually enjoy the lighthearted production of “Pay Gap” because it takes away from the hate in the message, and also because it adds some life to a boring record. “Don’t Say It” and “Weakness” are good too, but “Weakness” lost its luster by already being on the EP. This album and Price in general are being way too overrated. Thank you for being honest about your opinion of this.

I like Margo Price but I’d been privately thinking to myself that this new album wasn’t grabbing me like Midwest Farmer’s Daughter did – which I generally loved. I listened to this new one once and then went back to A Long Way From Your Heart and That Nashville Sound for a while.

Somehow, Trigger has turned himself into a victim. This review is so defensive and self-centered, it’s silly. If there’s no truth to any of it, why did you have to preface the whole thing by defending yourself? If you’re so confident in your review, why not just review it like any other album? You automatically reviewed this album in the context of how people will judge your opinion on it, and how unfair that is, and how you are such a victim of prejudice, and why won’t anyone just consider the feelings of a poor country music blogger. Yet your review and opinion of Turnpike doesn’t come from the same place. They are seen as the default and don’t have to go through the same scrutiny about their motives. They don’t threaten you, and therefore don’t invite this kind of review. If you really weren’t threatened by Margo, you would have just done a normal album review. Her album may very well not be good. But this review is definitely not good. It reflects more on the writer than the musician. You have done some very good work, but this “woe is me” stuff is quickly losing me.

Yes, half-assed press bandwagoning on an artist because they fit a certain political or social narrative is lame. But it doesn’t need to be the focus of your whole article. It should be a side note. But it is clearly something you are extremely sensitive about. Discussions of racism, politics, sexism, etc make you and many of your readers uncomfortable. Rather than looking within yourself and thinking about why that is, it’s easier to just lash out as a victim of some sort of perceived injustice, or lament about how everyone is too obsessed with politics, etc. You are smart and a good writer but you really seem to struggle with self-awareness.

I’m not trying to be a psychologist. Just a long time reader who appreciates Trigger’s analysis (usually). Reading this, I think his own opinions and defensive feelings about being called a misogynist clouded this review. It’s not like this album was written about him. I don’t understand why conservatives call liberal people “snowflakes” and then get so sad and become victims when someone challenges them.

What do you not understand? He turned a review of a female artist into a place to complain about how he is a victim of people attacking him for his views. He made it about himself. I think it’s silly and unfair to Margo.

And here you are semi attacking him for his views on Margo’s album. He is a music writer and critic and is giving his opinion on this album.
If you disagree with him, well that is what the comments section is for readers to express their opinion.

I think you’re unfairly portraying the time and attention this review gave to me being called a misogynist, or “made it about myself.” The fact is that I was called a bias misogynist on the day this album was released because I decided to review the Turnpike Troubadours and Dori Freeman albums first, which were also released on that day. I was never going to review this album until I had a firm grip on the sales and streaming numbers to corroborate or refute my working theory about the negative reception for her recorded music.

I would be a terrible critic if I could not take criticism. The point was to illustrate that there is a built in system of excuses for Margo that is keeping her from being receptive to the honest and constructive criticism she deserves as a promising artist. I did spend quite a bit of time talking about the importance of criticism, because this is a very relevant topic right now in music journalism, and a very relevant topic to the Margo Price narrative.

If you can’t discredit the message, discredit the messenger. This is what has been happening to the constructive criticism that has been offered from me to Margo Price in the past. So I decided to address it. I don’t know that automatically makes me self-centered.

Totally understand your point here and i think it’s a valid one to make.

Maybe it’s a preference thing, but to me a truly honest album review is as much about the writer as it is about the music – it’s really about that synthesis of the writers experience with the music, and the writer being upfront with their feelings and opinions rather than a totally detached “objective” review, even if to some that goes off kilter and feels more about the writer than the music.

As others have said,I’ve always found her overrated and boring as hell. As far as her politics go,I think people are even more bored, as she’s not saying anything new to the mix or anything to help. Conservatives can’t even get mad at her because they’re so bored. Liberals have heard the same so much THEY’RE bored. I guess in a way, she IS bringing both sides together… to YAWN.

And agree that Dori is so much better. Better songs,better voice,better everything. It’s nice to see her sales are doing good.

Some thoughts from a long-time reader, but first-time commenter on Trigger’s wonderful blog: I’m about 4‘600 miles removed from Nashville, living in Switzerland, so I have basically no idea of how controversial Margo Price might behave and is being percieved in Nashville’s music business and among music devotees. All I know is: I very much enjoy „All American Made“, much as I did „Midwest Farmer’s Daughter“. I love the stylistic variety and it feels anything but „lifeless“ to me. I’ve listened to it dozens of times so far and sure can’t get tired of it.

To my ears, her and Willie’s voices in „Learning to Lose“ are charming and moving. The Tex-Mex arrangement of „Pay Gap“ is a nicely unexpected counterpoint to the song’s basically valid political stance. And for her to bring up the infamous Iran-Contra affair in the context of a country song about American Made“ feats“: Who else would do that, maybe aside from Steve Earle? Granted, not all of her political lines really do work. But they sure are far from exuding „devisive, hate-filled venom“.

So what I mean to say is: Listening to music is always a deeply personal experience. I’ve been listening to country and Americana for all of my adult life – for a good 45 years, that is. And I keep realizing, that even among like-minded music lovers, there’s only so much overlap or agreeing about what truly grabs me and the next person. Like yourself and other commenters here, I also greatly enjoy music from artists whose political opinions differ much from mine – and I’m also sure not against political stances in songs; to some degree it’s always been part of folk- and even country-songwriting.

Trigger, I almost always love to read your posts – rants and eulogies and all. But your Margo-review to my mind just comes across like too many sour grapes that you have kept boiling inside for five weeks to finally come out with a harshness I cannot follow. And I stick to my personal top 3 of the year (yes, including two Third Man-releases): Lillie Mae, Margo Price and – on top – Zephaniah OHora (thank you for pointing me to him!)

I really enjoyed MWFD but the production was horrible and I thought she would have been better off recording it live. She seems to be much better live than in the studio. This new album was a little better in production I thought but the songs aren’t near as good. As for Dori it’s a shame she isn’t on SNL, Austin City Limits, ect. her voice is great.

I don’t like her voice. Like I’ve said about the other female singers; they all sound alike. There’s just something missing I can’t quite put my finger on, but, one thing is they all sound nasally and their voice tone is all the same. Granted I’m not an “expert” in music, but I know that I hear and I don’t like what I hear, regardless of their politics.

Her Buffalo CLO we recording is much better in terms of vocal texture and quality. They recorded that analog direct to tape, and you can hear the saturation that you just can’t get with the digital methods used on her solo stuff.

Funny, I listened to this album a few weeks ago and had the exact same thoughts. Whether it’s the production or what, her voice doesn’t come through strong, you get the feeling as if she’s standing behind the band or something. (Does anyone feel that Sturgill’s most recent album suffers from that same buried voice issue??)
My perception of the album’s energy, however, is skewed by my preferences- a slow, thoughtful song has to be written pretty dang well for me to like it. This album just doesn’t cut it as “legendary” favorites.

Seeing a lot of people agreeing and saying that they’ve thought the same thing. So everyone thought Margo was arrogant and entitled, a dreadful recording artist and taking opportunities from other artists that deserve it more?

I had no idea she was getting critical acclaim elsewhere. I think the review is probably on the nose from the tracks I’ve listened to. And I agree with the other comments about how she doesn’t stack up well vs. some of the other females in the genre. I’m just not that into her voice.

Thank you! You summed it all up in far too many words. Your review/article exemplifies exactly how I feel. This album feels like nothing more than a Midwest Farmer’s Daughter sequel. A continuation of the same issues that plagued her debut. Amazing voice strangled by poor composition, arrangements and production. I personally can’t stand the Doors style keyboard musical interludes either. I’m sure her live performance would put me in my place, but until I get the chance to be throat punched by her at a show anywhere near me, I find her recordings lackluster and lacking anything to convince me to keep her on heavy rotation.

It shows a little bit of integrity that you gave a mildly score and an extremely negative review to an artist that I know you really like. I agree with you 100%. Except since I have never seen her live, I have never liked any of her stuff. I guess that is the key you got to see her live, otherwise she is just a whiny hipster that can’t sing.

I actually don’t like her voice that much. You factor in the cookie cutter hyper-feminist/leftist agenda and I really have no desire to become a huge fan. And, as mentioned, the recorded songs just aren’t that good. If she makes truly great album, I’ll listen and gladly like the music even if I don’t like the temper-tantrum opinions, but as for right now, if I want witty, well-written country with some stances I don’t like, Kacey Musgraves is still miles ahead of Margo. And a better singer, to boot.

Hey Trig, you mentioned that the pay gap was a real issue. Uh dude…no it isn’t. That has been debunked so many times and anyone who continues to peddle that bogus political point is either a liar or extremely ignorant. But I’ll turn my focus to the music, which is so underwhelming. That’s me being nice. It actually sucks. One of the most overrated artists and one of the most annoying. There’s no nuance or sense of poetry in the lyrics. She’s like a petutlant child with a voice that doesn’t capture my interest.

The pay gap issue has not been debunked. It is statistical fact. And it gets worse the higher up the ladder a woman goes. And calling those who acknowledge this truth ignorant is itself incredibly ignorant.

Lol wrong. The pay gap is simply the average earnings of men and woman who work full time. It doesn’t take into account occupation, education, position, or hours worked per week. The very little pay gap that does exist has to do with INDIVIDUAL CHOICES. There are so many variables that drive wages. Blaming it on discrimination is laughable.

“The pay gap is simply the average earnings of men and woman who work full time.”
Uh, no it’s not. Studies have been done taking all these variables into account. Sure, the most often referenced statistic is the overall average you speak of, but only because it’s easy to use as a starting point when discussing the issue.
It’s also true that the overall average gap has gotten better over time, but this improvement doesn’t mean we should stop trying to make it better or decide to deny the problem exists.

Anybody who uses that statistic as a “starting point” (which all these stupid celebs do) is extremely dishonest lol. Also, I didn’t deny there was a small wage gap. I said the little gap that does exist isn’t because of discrimination Two men could be paid differently if you equaled out the variables I listed. There are still many other factors.

If anything men have it harder in the workplace. They are far more likely to be injured or die on the job. But hey, they chose to go into a dangerous profession, right? Just like women choose careers that are not very high paying and then they have to find a way to pay all that student debt. It’s all about choices.

I’d rather start with a statistical fact than a lie borne out of ignorance. It’s not about worker choices, it’s about employer double standards. Men are not treated worse than women in the workplace, that’s ridiculous and again, statistically false.

Wait…you’ve actually taken the time to READ these studies, Benny, and understand their methodology, before commenting on their validity?

I’m afraid that makes you a libtard snowflake whose wife has sex with other men, my friend.

And if you make any point otherwise, or introduce any facts that contradict the point of view I came into the conversation with, my discomfort will involuntarily compel me to start ranting in all caps about how “triggered” you are.

Haven’t really given this album a serious sit-down listen yet. I liked Midwest Farmer’s Daughter well enough though. Weekender, Since You Put Me Down, and Tennessee song were pretty darn good straight country songs I thought. Paper Cowboy’s a good one too, think it was off of a smaller project that came out this year. Also disagree with some of the comments here that she’s overrated. Her voice is outstanding. I also don’t think all female singers sound alike, as was mentioned above. And it’s like anything else, if you don’t like it you don’t have to listen to it.

I couldn’t quite put my finger on why I was disappointed with this album, and Trigger nailed it right on the head. She is fantastic live, and I do root for her, but most of this album is just meh. It’s also the first Third Man Records vinyl release I bought that sounded less than stellar.

This review is spot on. I have seen her live several times and she is amazing. This album is good but it doesn’t represent what you hear from her live at all. Neither does Midwest Farmer’s Daughter but it is infinitely better than this one.

This album sounds like a demo. The production keeps me from getting inside the music. Leaves me with little desire to appreciate the songwriting or performance. The biggest offender for me is the vocal sound. It’s extremely wooly as my Brit friends would say. The lead vocal, which should be the featured element, just lurks somewhere in an overall tubby mix. On “Learning To Lose” there is obviously no attempt to match Willie and Margo vocal sound – not to mention the looseness of the two performances. I know many will suggest this is an attempt to avoid the slickness of typical digital age recording techniques. I suggest that there are many recordings from the 1960’s, pre 8, 16, 24 track and beyond recordings, that will reach out and grab you while sonically this album lurks in the dark. It ain’t about your tools, it’s about your ideas.

I don’t have much of an opinion about Margo Price, which I think is a reflection of how I feel about her studio albums–my primary exposure to her music to date. There were a few tracks I enjoyed on Midwest Farmer’s Daughter, and while I have not seen her live I have listened to some live recordings–and they were superior. All-American Made just doesn’t engender any particularly strong feelings in me. I’ve listened to it a couple times, it didn’t make much of an impression, and I don’t find any urge to go back to it. I think you nailed it, Trigger.

Hot damn Triggerman! Was you rea ding my mind? I have never agreed so much with an album review anywhere. You nailed man. This album leaves me thirsty for something better from an amazing band. I felt the same way about the first one.

I don’t mind political songs in general, but like any other song they need to be good songs musically and lyrically. I’m not going to fall in love with them simply because they are “for the Cause”.

The political songs I hear nowadays don’t anger me; they just bore me. They’re often nothing but laundry lists of complaints from the Left, or rehashes of “Support The Troops and wave the flag” from the Right. They don’t compare to the political and protest songs of the 1960s, which people still sing and listen to today. I have yet to hear the political song of the last few years that anybody will be singing forty years from now.

One mans trash is another mans treasure. Music is very subjective to individual opinion as are all art mediums. Its Triggers blog, he reviews music and this is his opinion. Obviously, many reviews out there put this album in glowing terms and that stands in contrast to his review, His point about no more real music critics anymore is a reality, I think. There are current articles written about this very subject. A columnist for No Depression lamented this truth recently, in effect calling most music reviews puff pieces given out like participation trophy’s. My words not his, but that’s the gist of that article. These days if a music critic is honest about a negative opinion, then he or she is shamed via social media and through comments like yours. Thats why nobody else is gonna give Margo a bad review. Then there is the political aspect already mentioned. Since she is parroting current pop culture political viewpoint, she is “brilliant”. Its all too predictable. Yeah, Triggers opinionated, but he is willing to own it. Thats one of the reasons why I enjoy his reviews whether or not I agree. Jim Rome, the sports guy used to have a motto statement about callers who weighed in. Have an opinion and don’t suck. Basically he was implying, its ok to have a take different than mine but at least have a rationale that’s logical. Trigger has a take and he provides substantial reasons why he believes a music product is worthy or if he feels it falls short. But I get a little of where your coming from, taken on its own that statement you commented on does sound arrogant. Putting it in proper context with everything else mentioned, however…I kind of agree with Trig. I seriously doubt anybody else will give Margo a bad review because essentially no one gives bad reviews anymore and shes a current media darling, popular with the hipster, NPR and Rolling Stone crowd. All that said, I too saw her live and enjoyed the show. Haven’t heard the new album and likely won’t give it a listen, too much other music I really love out there to bother right now. Perhaps Margo’s best recorded work yet lies ahead for her. Time will tell.
Cheers!

“Pay Gap” might be one of the worst songs in Country Music history. Yeah, there has been some stupid banal songs from Nashville but those songs are just dumb party tunes. They weren’t trying to make a political point. “Pay Gap” promotes a falsehood combined with outrageous hyperbole.

I am sorry, Price sounds like a 15 year old girl who just discovered third wave feminism and she is angry.

This is one of the best reviews of yours I have read. Thoughtful, courageous, thorough, and nuanced. It’s unfortunate that you have to bend over backwards to (1) defend the legitimacy of criticism and (2) make sure the focus of people’s reactions stays on the music, but I appreciate you putting in the effort to do so. Bravo.

Also, I did want to register my appreciation that, for the most part, Margo kept these vocal arrangements closer to her natural register. Often she seems beholden to some imaginary dogma that she has to sing high, despite the fact that it just doesn’t work for her: that’s when her vocals sound thin, hollow, and whiny. Maybe this is just me, but this issue has been a big roadblock to me enjoying her work. For the various missteps on AAM, at least she seems a bit more secure in resisting the apparent temptation to push her vocal lines too high.

Absolutely love Margo Price. Really enjoy her studio work and love her live show. I thought All American Made was great and am still spinning it regularly. I guess I can kind of see how others may find it lacking in production/energy, but I still find myself coming back to listen to this album. However, as many others have said, I can’t stand the song “Pay Gap.” Trigger pointed it out in the review but some of her lyrics on that are just plain insulting. That being said, I did enjoy the review and thought there were many interesting and very true statements made.

Trig, I appreciate the review. I am a big Margo fan and she is fantastic live. The new album is good, not solidly great as the first LP in my opinion. I do think a song like Pay Gap can be hard to pull off well and it is her first song I don’t care for the musical arrangement.. The title song actually dates back to her Buffalo Clover band days (check out Daytrotter) as do some of the more soulful musical aspects this time around. The political themes ring back to her Secret Handahake duo days. So I think she felt more comfortable showing that side of herself again after some success last time. . For many folks this is album #2 but when considering Buffalo Clover, it’s more like album #5 and this one is more akin to me to her Buffalo Clover days.

As with MWF, I like this album more than you do. I’d go a little higher, like maybe 7 out of 10. A good but not great album.

I agree that Pay Gap isn’t the best and that the line that you highlighted (the 1776 thing) is very hamfisted. I think the song is sort of like whatever that Brad Paisley song with LL Cool J was, where the intentions were probably good, but the execution not so good.

Man, I don’t agree that the song All American Made is dreadful and droning. I remember seeing her do a stripped down version on Charlie Rose before the election and as the first song in her NPR Tiny Desk concert the day after the election. Very moving. The Reagan/Iran verse was a little surprising the first time I heard given the previous lyrics, but it’s a later verse and I’m not so sure it’s “gotcha politics.” I’m also not sure why the choir outro on the album is so egregious. A little over the top, maybe, but it’s at the end of a long song. However, what I really wish they didn’t do was add those snippets of political speeches at the beginning, over the instrumental portions and at the end. For me, they get in the way. It’s like hearing a song you love come on the radio, but the DJ won’t shut up and let you listen to the song.